Haydn’s Orlando Paladino is a “heroic comedy” based, of course, on Ariosto. In this version Angelica, queen of Cathay, and her lover Medoro have fled to a remote castle to get away from Orlando who is in love, of course, with Angelica. There’s a shepherd and shepherdess, a sorceress, a squire and Rodomonte, the king of Barbary thrown into the mix and various misadventures ensue until the sorceress, Alcina, dips Orlando into the waters of Lethe causing him to forget being in love with Angelica and it all ends happily. There are also a bunch of non-singing characters who, I think represent the “dangerous” people of this remote country. For reasons I haven’t quite fathomed they include a bishop and a bearded air hostess.
Back in July I reviewed John Eliot Gardiner’s Paris recording of Gluck’s Orphée et Eurydice which I found musically fine, in good taste (too much so) and ultimately unengaging. Lydia pointed me to a Bayerischen Staatsoper version with Vesselina Kasarova in the title role. It’s the 1859 Berlioz version with a ballet tacked on at the end, more of which below. Musically it’s very good. Chorus and Orchestra under Ivor Bolton are excellent, Kasarova sings and acts very competently and manages an amazing cadenza in her big first act aria. Rosemary Joshua as Eurydice is perfectly adequate if a bit anonymous and Deborah York is an androgynous looking and sounding Amour which works fine for this production.